Few things fascinate a storyteller more than an unsung hero, and it is not hard to understand why. There is much creative potential in the tales of those at the epicentre of great cultural tipping points, who find themselves largely absent from the hearts and minds of the general public for one reason or another. Perhaps this is why exploring the legacies of people like Alexander Hamilton, or in this case Beatles manager Brian Epstein, is such a tantalising prospect.
Written by Tom Wright, Please Please Me brings the tragically short life of a crucial, yet historically underappreciated figure in the Fab Four’s fable to Kiln Theatre in a production that, although a beautiful and heartbreaking tale, lacks the restraint and deftness of narrative execution necessary to remain coherent and consistent in its storytelling.
Despite this, there is a lot to like about the show. Tom Piper and Deborah Andrews’ costume and set design is exquisite, working perfectly with Amit Sharma’s direction, Rory Beaton’s lighting, and David Shrubsole’s sound design to bring an assured 60s flair, while cleverly using props and set dressing to invite us into Epstein’s increasingly fractured state of mind.
It is also hard to overstate just how stellar the cast is. Calam Lynch delivers a tragically wondrous performance as Brian Epstein, bringing to life a figure who almost felt too much, noted for his kindness, devotion and savviness, but tortured by shame, addiction and the challenges of navigating a hostile world as a gay, Jewish man. Noah Ritter’s turn as John Lennon is pitch-perfect, going beyond impersonation and infusing his performance with gravitas, roguish charm, and nuanced insecurity. William Robinson, Arthur Wilson, and Eleanor Worthington-Cox round out the cast, each playing multiple different figures in Epstein’s life and delivering thoroughly committed, engaging performances.
Wright’s witty and moving script makes a valiant effort at fitting such a short, yet eventful life into the time given, with an intense emotional curiosity that seeks to delve into the psyches of Epstein and Lennon during a period shrouded in rumour and speculation. This, however, serves as a double-edged sword, as some scenes seem hyperfocused on certain aspects of the characters, while others rush through or pay lip service to the overall narrative, leading to a production that feels unevenly paced, increasingly unfocused and lightweight in areas where it perhaps should not be.
With that being said, Please Please Me is still a beautiful work of bittersweet whimsy. While it does creak under the weight of its story, at times feeling like a somewhat clichéd “rise and fall” biodrama, it is clear that there is endless love and passion poured into the project. With such brilliant performances and a wonderfully talented creative team, there is more than enough for the Kiln Theatre audience to latch onto, and the production serves as a poignant and deeply empathetic window into an unsung figure who, in the face of adversity, helped bring something truly special to the world.
Listings and ticket information can be found here
